Philips N4506 User manual

PHILIPS

English Page 3
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Operating Instructions
Francais Page 12
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Deutsch Seite 20
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Espanol Pag. 37
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las instrucciones de manejo
Italiano Pag. 46
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pagine 85 e 86
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English
Controls and connection sockets
Figures 1 and 2
@ reel spindles with locking clips
@ recording level meter - left channel
@® overload indicator - left channel
overload indicator - right channel
recording level meter - right channel
monitor output level control - left channel
monitor output level control - right channel
line output level control - left channel
line output level control - right channel
line input sensitivity control - left channel
line input sensitivity control - right channel
tuner input sensitivity contro! - left channel
tuner input sensitivity control - right channel
‘aux’ input sensitivity control - left channel
‘aux’ input sensitivity control - right channel
phono input sensitivity control - left channel
phono input sensitivity control - right channel
hinged transparent cover
tape-tension stabilisers
memory switch for counter
counter
zero-reset button for counter
tape threading slot
detachable head-cover
cueing knob
microphone sensitivity switch
volume control
balance control
bass control
treble control
wind speed control
post fading control
lock button for post-fading control
recording level control - left channel
recording level control - right channel
microphone recording level control - left chan-
nel
@) microphone recording level control - right
channel
line input selector
tuner input selector
‘aux’ input selector
phono input selector
fast rewind key
fast wind key
start key
pause key (to disengage, press again)
record key
@ (record, playback and fast wind) stop key
®
QO@Q@QOQOQOQO©O@OCOOO
OOOOOOOHOOOOOOHO®
®)
monitor selector
track selector
speed selector
6) DNL indicator
63 DNL switch
6} socket for stereo headset
€) socket for mono microphone (left channel) or
stereo microphone, can also be used as an
extra input for radio, amplifier or recorder
6) socket for mono microphone (right channel)
phono equalisation selector
€ multiplay switch
function selector
mains switch
mains on/off-indicator
holes for the support-pins for horizontal use
@ carrying handle
@ mains-voltage selector
socket for mains lead
@ type plate
phono input socket for HiFi or non-HiFi record
player ‘
’aux’ input - auxiliary input socket for radio,
amplifier or recorder
tuner input socket
line in/out - combined input/output socket for
radio, amplifier or recorder
@ MFB output socket for MFB-loudspeaker en-
closures
@ monitor output socket for radio, amplifier or
recorder
@ remote socket - for start/stop remote control
unit
Note: Do not expose the recorder for any great
length of time to excessive heat from heating
equipment or direct sunshine.
Removing the cover
Pull the lower side of the cover loose and lift it away
from the hinge recesses. It is advisable to replace
the cover when the recorder section is not in use.
Horizontal use
The recorder can be used either vertically or
horizontally. For horizontal use the two support
pins supplied can be inserted in the holes 6} at the
rear of the recorder (fig. 2).
Connecting the recorder to the mains
Before connecting the recorder to the mains,
ensure that voltage selector @ is set to the local
mains supply. if it is not, turn the voltage selector
with a suitable screwdriver or one of the support
pins supplied until the correct voltage value ap-
pears in the recess (fig. 2). Then insert the female
plug of the mains lead in socket €4 and, after this,
insert the mains plug in the wall socket. |
Warning: Always disconnect the mains lead before
opening the apparatus.

Note for users in Great Britain
When
fitting
a
mains
plug
to
the
mains
lead
proceed
as
follows:
The
wires
in
the
mains
lead
are
coloured
in
accordance
with
the
following
code:
Blue
=
Neutral,
Brown
=
Live.
As
these
colours
may
not
correspond
with
the
colour
markings
identifying
the
terminals
in
your
plug
proceed
as
follows:
The
Brown
wire
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
L
or
coloured
Red.
The
Blue
wire
must
be
connected
to
the
terminal
which
is
marked
with
the
letter
N
or
coloured
Black.
Note:
This
apparatus
must
be
protected
by
a3
Amp
Fuse
if
a
13
Amp
plug
is
used
or
if
any
other
type
of
plug
is
used
by
a5
amp
Fuse
either
in
the
plug
or
adaptor
or
at
the
distribution
board.
If
in
doubt
consult
a
qualified
electrician.
Switching on and off
The
recorder
can
be
switched
on
and
off
with
mains
switch
69.
Indicator
lights
when
the
recorder
is
switched
on.
Note:
If
the
tape
moving,
never
switch
off
the
recorder
without
first
pressing
stop
key
Adjustment for type of tape in use
Press
in
the
narrow
sides
of
the
lower
head
cover
@)
and
remove
(fig.
3).
@
If
tapes
with
a
glossy
rear
side
are
used,
bracket
®
must
be
to
the
left
(fig.
4,
position
A).
@
If
rear
side
coated
tapes
are
used,
bracket
®
must
be
to
the
right
(fig.
4,
position
B).
This
prevents
undue
wear
of
the
felt
pressure
pad
®.
Threading the tape
@
Place
a
full
reel
of
tape
on
the
left-hand
reel
carrier
(1).
This
reel
must
turn
anti-clockwise
when
unwinding.
Now
draw
out
the
top
of
reel
spindle
®,
turn
it
slightly
and
allow
it
to
spring
back
on
the
reel.
The
reel
is
now
clamped
to
the
carrier.
Attach
an
empty
reel
to
the
right-hand
reel
disc
by
proceeding
in
the
same
way.
@
Check
that
cueing
knob
@)
is in
its
lower
position.
@
Unwind
about
30
cm
of
tape
and,
holding
it
taut
between
both
hands,
lead
it
around
the
tape
tension
stabilisers
@
and
through
tape
threading
slot
@8)
(fig.
1).
@
Still
holding
the
tape
taut,
press
the
start
of
the
tape
against
the
core
of
the
empty
reel
and
turn
this
reel
anti-clockwise
until
it
begins
to
take
up
the
tape.
@
Press
start
key
keep
it
depressed
until
the
leader
tape
and
the
metal
switching
foil
have
passed
through
tape
threading
slot
@,
then
press
stop
key
@.
Note:
When
metal
reels
with
an
insulated
(e.g.
plastic)
centre
are
used,
static
build-up
may
occur
if
the
equipment
is
used
in
dry
atmospheric
conditions.
To
reduce
the
effect
of
this
problem
we
recommend
the
use
of
conductive
plates
which
can
be
clamped
between
the
locking
clips
@
and
the
metal
reels.
These
plates
are
available
indivi-
dually
under
service
code
4822
466
80664.
4
Automatic stop
When
the
metal
switching
foil
at
the
start
and
end
of
the
tape
passes
the
switching
contact
®
(fig.
6),
any
depressed
keys
are
automatically
disengaged
and
the
tape
stops.
This
automatic
stop
operates
during
recording,
playback
and
fast
winding.
If
tapes
without
metal
switching
foil
are
used,
any
depressed
keys
are
disengaged
by
the
integral
tape-breakage
protection
mechanism.
Four-track system
This
four-track
recorder
allows
four
recordings
to
be
made
over
the
full
length
of
the
tape.
The
four
recording
tracks
lie
above
each
other.
Each
tape
can
thus
take
four
mono
recordings
or
two
stereo
recordings
(a
stereo
recording
consists
of
two
mono
recordings).
@
To
make
mono
recordings
on
each
of
the
four
tracks,
set
track
selector
to
°1-4’.
Only
re-
cording
level
meter
@
lights.
You
can
now
record
on
track
1.
When
the
right-hand
reel
is
full,
transpose
the
two
reels.
Leaving
the
track
selector
at
‘1-4’,
your
next
recording
will
be
on
track
4.
Again
transpose
the
reels
when
the
right-hand
reel
is
full
and
set
track
selector
to
°3-2’.
Only
recording
level
meter
@)
lights.
The
recording
which
you
now
make
will
be
on
track
3.
When
the
right-hand
reel
is
full,
again
transpose
the
reels,
leaving
the
track
selector
at
'3-2’.
Your
fourth
recording
will
be
made
on
track
2.
When
the
right-hand
reel
is
again
full,
all
four
tracks
contain
mono
recordings
over
their
full
length.
@
To
make
two
stereo
recordings
on
the
four
tracks,
set
track
selector
to
stereo.
Both
recording
level
meters
@
and
©,
now
light.
The
recording
which
you
now
make
will
be
on
tracks
|
and
3.
When
the
right-hand
reel
is
full,
transpose
the
two
reels
as
before.
Leaving
the
track
selector
at
stereo,
you
can
now
make
the
second
stereo
recording,
which
will
be
on
tracks
4
and
2.
When
the
end
of
the
tape
is
reached,
both
pairs
of
tracks
contain
stereo
recordings
over
their
full
length.
Counter
and
memory
stop
Make
a
habit
of
setting
counter
@}
to
’0000"
by
pressing
zero
reset
button
@
immediately
after
threading
a
tape.
You
can
make
a
note
of
the
counter
reading
at
which
each
recording
starts
on
the
index
card
of
the
tape
storage
box.
Later,
you
can
swiftly
locate
any
recording
desired
by
re-
winding
or
winding
to
the
counter
reading
con-
cerned.
Note
that
the
counter
gives
no
indication
as
to
the
length
or
playing
time
of
the
tape.
If
memory
switch
@)is
pressed
in,
the
tape
will
stop
automatically
during
fast
winding,
rewinding
or
playback
when
the
counter
passes
’0000’.
The

memory stop is not operative during recording. By
setting the counter to 0000’ when a recording is
commenced, the beginning of this recording can,
later, be swiftly located by pressing memory switch
@Q and then rewind key The memory stop is
switched off by pressing switch @9 again.
Fast winding/cueing
The wind speed can be varied, during fast winding
and rewinding, by means of control 67).
When function selector 68 is in its lower position,
cueing is made possible, during fast winding, by
moving cueing knob @§) to its upper position; this
causes the tape to be held against the playback
head. The recorded sound is played back at a
speed that is controllable via wind speed control @)
and, with a little experience, particular parts of
recordings can soon be recognized and thus,
quickly located. Note: Do not leave the cueing
knob in its upper position unnecessarily.
When switching from one tape travel function to
another (e.g. fast rewinding to start), it is not
necessary to depress the stop button first. The
pause button @) does not operate during fast
winding. When function selector 68 is in its upper
position, start key does not operate; fast
winding and rewinding is possible but without the
cueing function.
Dynamic Noise Limiter - DNL
The DNL suppresses tape noise without greatly
affecting the naturalness of the music signal. It
operates only during quiet passages and in the
absence of signal on the tape, which is when noise
is most apparent. The DNL operates during play-
back and during monitoring with monitor selector
at ’A’. Thus recordings being made on this
recorder are entirely unaffected by the DNL. The
DNL is operated by switch 69; indicator 6) lights
when the DNL is switched on.
Connections
The recorder is fitted with DIN standard connec-
tion sockets. Equipment fitted with DIN connection
sockets can be connected to the recorder using
lead 4822 321 20207 (EL 3768/14). For the con-
nection of equipment and accessories fitted with
other than DIN plugs or sockets, adapter leads and
plugs are available from your dealer.
In the interests of safety, consult your dealer if you
wish to connect equipment not having a recorder
connection socket (e.g. a TV-set).
@ Socket 6): output for stereo headset. With the
groove in the headset plug opposite '+’ the
MFB-loudspeaker enclosures remain switched on.
With the groove opposite ’—’ the MFB-loudspea-
ker enclosures are switched off.
@ Socket 6%: input for stereo microphone or for
the left-hand channel mono microphone when
making stereo recordings with two microphones.
This socket also serves as an extra input for a
radio, amplifier or second recorder. The recording
level (also when using the unit as a control
amplifier) is adjusted with control and, when
using a stereo sound source, with the controls
and 62.
@ Socket 6: input for the right-hand channel
mono microphone when making stereo recordings
with two microphones. The recording level (also
when using the unit as a control amplifier) is
adjusted with control 62.
@ Socket @: input for record player. Switch
must be in its upper position when using a non-HiFi
pick-up cartridge (crystal or ceramic); in its lower
position the pre-amplifiers are switched in for a
HiFi pick-up cartridge (magnetic or HiFi-ceramic).
For record players with a built-in pre-amplifier,
switch must be in its upper position. Record
players with built-in output amplifiers must be
connected to socket € or
@ Socket @): auxiliary input for radio, amplifier,
recorder, combined gramophone/amplifier or
electronic organ.
@ Socket ۤ: tuner input. Radios and combined
tuner/amplifiers can be connected to socket 6% or
@ Socket €9: combined input/output (record and
playback) for all equipment - radios, amplifiers,
combined gramophone/amplifier and tuner/ampli-
fier systems, tape and cassette recorders - fitted
with a recorder or diode connection.
@ Socket @0: contro! amplifier output for MFB-
loudspeaker enclosures. The input sensitivity
control on the MFB-loudspeaker enclosures
should be set to ‘1 V’.
@ Socket @): monitor output for amplifier (allowing
listening-in during recording) or for a second
recorder (allowing simultaneous recording by two —
recorders). The monitor socket provides an output
signal during use as a control-amplifier and both
during playback and recording, except when the
recorder is in the record/pause position with
monitor selector @) in position ’A’.
@ Socket @: socket for remote control unit, by
which the tape can be started and stopped during
recording and playback. When the remote control
unit is employed, pause key @ must always be
pressed, either together with start key for
playing back or with start key @4 and record key
for recording.

Input and output controls
To
overcome
the
large
changes
in
output
level
caused
when
switching
from
one
input
source
to
another
this
recorder
is
fitted
with
adjustable
inputs
and
outputs.
Input
sensitivities
can
be
adjusted
as
follows:
@
Set
function
selector
€
to
its
lower
position.
@ Press record key
@
Set
the
recording
level
controls
@
and
@)
to
position
‘7’.
e Lift up cover
@
Set
the
appropriate
selector,
determined
by
the
input
used,
in
its
upper
position:
-
Switch
@)
selects
the
line
input
©;
The
input
sensitivity
is
set
via
the
controls
(left
channel)
and
(i)
(right
channel).
-
Switch
@)
selects
the
tuner
input
@;
The
input
sensitivity
is
set
via
the
controls
@2
(left
channel)
and
@
(right
channel).
-
Switch
@
selects
the
‘aux’
input
@;
The
input
sensitivity
is
set
via
the
controls
@
(left
channel)
and
(
(right
channel).
-
Switch
@
selects
the
phono
input
@);
The
input
sensitivity
is
set
via
the
controls
(left
channel)
and
@
(right
channel).
@
Play
the
connected
apparatus
and,
using
thumb
or
coin,
turn
the
appropriate
input
sensitivity
controls
clockwise
until
the
recording
level
meters
@
and
©)
indicate
100%
during
the
loudest
passages
(fig.
5).
The
overload
indicators
@®
and
@
should
just
fail
to
tight.
@
When
all
the
input
sensitivities
have
been
set,
press
stop
key
The
output
levels
from
the
recorder
are
also
adjustable
in
order
to
match
the
recorder
playback
volume
to
that
of
other
input
sources
connected
to
the
amplifier.
To
set
up
the
output
voltage,
a
pre-recorded
stereo
tape
is
required.
@
Connect
the
monitor
socket
@)
to
the
monitor
input
and
the
‘line
in/out’
socket
to
the
tape
recorder
input
of
the
amplifier.
@
Thread
the
pre-recorded
tape,
set
speed
selec-
tor
to
the
appropriate
speed
and
set
track
selector
@9
to
stereo.
@
Set
function
selector
€8
to
its
lower
position.
@
Switch
on
or
start
a
source
connected
to
the
amplifier
(e.g.
a
tuner)
and
set
to
a
particular
volume.
@
Press
start
key
@
to
commence
playback.
@
Alternately
select
on
the
amplifier
tuner,
re-
corder
and
monitor
playback
and
compare
the
relative
volumes
of
recorder
and
monitor
playback
with
the
tuner
playback
volume.
The
monitor
output
level
can
be
adjusted
with
the
controls
©
(left
channel)
and
@
(right
channel)
and
the
‘line
out’
output
level
with
the
controls
@)
(left
channel)
6
and
(g)
(right
channel).
Turn
these
controls
clock-
wise
(louder)
or
anti-clockwise
(softer)
to
adjust
the
relative
volumes.
Use of microphones
For
microphone
recordings
you
can
connect
two
mono
microphones,
one
to
socket
and
the
other
to
socket
ۤ,
or
a
stereo
microphone
to
socket
64.
Depending
on
the
position
of
track
selector
9,
the
recordings
made
in
each
case
will
be
either
stereo
or
mono.
For
mono
recordings
you
can,
if
desired,
connect
only
one
microphone
to
socket
64
or
68.
For
stereo
recordings
the
mono
microphone
for
the
left
channel
must
face
the
left
and
that
for
the
right
channel
the
right
of
the
sound
source.
For
speech
recordings
the
distance
between
mouth
and
microphone
should
be
about
30
cm.
For
music
recordings,
trials
should
be
made
to
determine
the
most
suitable
positions.
To
prevent
unwanted
recorder
noise
being
picked
up
by
the
microphones,
these
should
be
placed
away
from
the
recorder.
If
a
large
amount
of
background
noise
is
present
whilst
making
speech
recordings,
the
clarity
can
be
increased
by
setting
the
microphone
sensitivity
switch
@6
to
'~
20
dB’
and
reducing
the
distance
between
mouth
and
microphone
to
5-10
cm.
Switch
@
should
also
be
set
to
’~
20
dB’
if
you
are
recording
sounds
at
very
high
levels
or
with
very
high
peaks
(e.g.
beatgroups).
Listening-in
during
recording
(monitoring)
You
can
check
what
is
going
onto
the
tape
by
monitoring
during
recording.
Monitoring
through
a
headset
is
of
particular
advantage
when
making
microphone
recordings
since
it
averts
the
danger
of
the
microphone
picking
up
sound
from
the
loudspeakers
and
thus
causing
a
whistling
noise
(‘howling’
or
‘acoustic
feedback’).
By
means
of
monitor
selector
@,
which
operates
only
during
recording,
you
can
choose
between
‘after
tape’
and
‘before
tape’
monitoring.
-
‘A’
is
the
after
tape
switch
position.
The
signal
which
the
record
head
©
(fig.
6)
has
put
on
the
tape
is
reproduced
immediately
afterwards
by
the
playback
head
©,
Thus
what
you
then
hear
is
the
signal
as
recorded.
Note
that
with
monitor
selector
at
’A’
and
the
tape
stationary
(the
pause
key
being
engaged),
the
playback
head
gives
no
signal
and
so
nothing
is
heard.
-
'B'
is
the
before
tape
switch
position.
In
this
case
what
you
hear
is
the
signal
as
it
sounds
before
the
record
head
has
put
it
on
the
tape.
With
monitor
selector
@)
at
'B’
and
the
tape
stationary
(the
pause
key
being
engaged),
the
signal
as
it
sounds
prior
to
recording
is
continuously
heard.

To monitor, proceed as follows:
@
Connect
MFB-loudspeaker
enclosures
or
a
headset
(see
Connections’)
or
connect
an
am-
plifier
to
monitor
socket
@.
e
Set
monitor
selector
to
'B’
if
the
tape
is
stationary
or
to
’A’
if
the
tape
is
running.
@
Adjust
the
volume,
balance
and
tone
for
the
MFB-loudspeaker
enclosures
and/or
the
headset
via
the
controls
@),
@,
@
and
69.
When
monitoring
through
an
amplifier
the
volume
etc.
is
adjusted
on
the
amplifier.
Introduction to recording
@
Copying
of
gramophone
records
and
recording
of
radio
programmes
is
permissible
only
insofar
as
copyright
or
other
rights
of
third
parties
are
not
thereby
infringed.
@
The
strength
at
which
the
sound
is
recorded
on
the
tape
determines
the
quality
of
the
sound
obtainable
on
playback.
This
‘recording
level’
is
adjusted
via
the
controls
@
and
62
when
recording
via
the
microphone
sockets
64
and
68)
and
by
the
controls
63
and
@)
for
all
other
recordings.
The
recording
level
is
checked
by
reference
to
the
recording
level
meters
@
and
©
and
the
overload
indicators
@
and
@.
In
mono
recording
with
one
mono
microphone,
control
66
is
used
for
input
via
socket
@
and
control
@
for
input
via
socket
@)
@
The
recording
level
is
correctly
set
if,
during
the
loudest
passages,
the
pointers
of
the
recording
level
meters
@
and/or
@)
deflect
just
to
the
100%
mark
(fig.
5)
and
the
overload
indicators
@
and
@
just
fail
to
\ight.
If
the
level
is
too
high
or
too
low,
either
distortion
or
disturbing
tape
noise,
respec-
tively,
will
be
heard
on
playback.
@
During
recording,
any
previously
recording
on
the
same
part
of
the
tape
is
automatically
erased
by
the
erase
head
@)
(fig.
6).
You
can,
however,
erase
a
recording
without
adding
a
new
one
by
keeping
all
recording
level
controls
at
‘0’
as
you
record.
Erasure
is
fastest
with
speed
selector
69
at
"19°
(cm/s).
e@
Recordings
being
made
from
an
apparatus
having
a
recorder
connection
socket
are
not
affected
by
the
settings
of
the
volume
or
tone
controls
of
that
apparatus.
Recording
@
Connect
the
equipment
from
which
you
wish
to
record
to
the
appropriate
socket
and
set
the
corresponding
input
selector
68).
.
. G})
to
its
upper
position
or,
during
microphone
recordings,
set
all
input
selectors
to
their
lower
position.
@ Set function selector 68 to its lower position.
@ Set monitor selector @ to 'B’.
e Set speed selector 69 to the speed desired. The
lowest
speed
gives
the
longest
playing
time,
the
highest
speed
the
best
sound
quality.
e Set
track
selector
@
to
stereo
or
-
for
mono
recordings
-
to
‘1-4’
or
’3-2’.
@ Press pause key
@ Press start key @ and record key @ at the same
time.
e@
Allow
the
equipment
connected
to
play,
or
speak
or
sing
into
the
microphone
and
adjust
the
recording
level
as
necessary.
e
Now
start
recording
by
pressing
pause
key
@
again.
Check
the
recording
level
from
time
to
time
and
readjust
it,
gradually,
if
necessary.
e
lf
required,
set
monitor
selector
to
‘A’
for
‘after
tape’
monitoring.
@ For brief interruptions press pause key
@ To stop, press stop key @.
N.B.:
To
record
with
two
recorders
simultaneously,
connect
the
second
recorder
to
monitor
socket
@)
and
keep
monitor
selector
at
'B’
during
re-
cording.
Playback
The
recordings
made
can
be
reproduced
through:
@
Two
MFB-loudspeaker
enclosures
connected
to
socket
@
and/or
@
A
headset
connected
to
socket
@
(see
‘Con-
nections’):
Set
function
selector
68
to
its
lower
position,
set
track
selector
@
and
speed
selector
@9
to
the
positions
in
which
the
recording
was
made,
press
start
key
@,
adjust
the
volume,
balance
and
tone
with
the
controls
@),
@,
@ and
69
and,
if
desired,
switch
on
the
DNL
with
switch
6.
@
An
amplifier
(or
radio,
recorder
or
gramophone,
serving
as
amplifier)
connected
to
socket
(or
@).
Set
function
selector
8
in
its
lower
position,
adjust
the
amplifier
for
recorder
playback
and
set
track
selector
and
speed
selector
6d
to
the
positions
in
which
the
recording
was
made.
Now
press
start
key
@),
adjust
the
volume,
balance
etc.
on
the
amplifier
and,
if desired,
switch
on
the
DNL
with
switch
69.
Post-fading
It is possible, during playback, to fade-out and
fade-in parts of the recording. This is particularly
useful when undesired applause, announcements,
background noise, etc. are present on the tape.
Caution should be taken when using the facility,
since incorrect use can spoil the recording. It is
recommended that an old dispensable recording is
used to gain experience of this facility as follows:
@ Play the tape and take note of the start and
duration in seconds of the piece to be faded-out.
7

@
Rewind
the
tape
to
a
point
before
the
fading
is
required
and
press
start
key
@
Keep
lock
button
@
depressed
with
one
hand
and,
as
the
undesired
piece
approaches,
slide
post-fading
control
63
upwards
with
the
other
hand
(the
sound
will
now
fade
away).
When
sliding
the
post-fading
control
downwards,
the
sound
will
return.
The
fade-in
and
fade-out
speed
is
deter-
mined
by
the
speed
at
which
the
post-fading
control
is
used.
Using
the
recorder
as
a
control-amplifier
if
you
wish
to
use
only
the
amplifier
in
combination
with
the
MFB-loudspeaker
enclosures
and/or
a
headset
connected,
proceed
as
follows:
@
Set
function
selector
to
its
upper
position.
The
recorder
section
is
now
switched
off
(apart
from
fast
winding
and
rewinding).
@
Select
the
required
sound
source
with
the
appropriate
input
selector
@8).
..
@.
The
recording
level
controls
@
and
@
are
not
operative.
@
If
used
as
a
microphone
amplifier,
all
input
selectors
68).
.
.
@)
must
be
in
their
lower
position
and
the
recording
level
must
be
set
with
the
controls
and
@
so
that,
during
the
loudest
passages,
the
recording
level
meters
@
and
®
just
touch
‘100%’
(fig.
5).
The
overload
indicators
@
and
@
are
not
operative.
If
‘howling’
occurs,
the
distance
between
loudspeaker
and
microphone
should
be
increased
or
the
volume
should
be
reduced.
@
Set
track
selector
@
for
stereo
reproduction
to
Stereo
and
for
mono
reproduction
to
’1-4’
or
°3-2'.
@
Adjust
the
volume,
balance
and
tone
with
the
controls
@?,
@8,
@)
and
69.
Mixing sounds
This
recorder
permits
mixing
of
inputs
from
differ-
ent
sound
sources
e.g.
a
record
player
and
a
microphone,
since
it
is
equipped
with
separate
recording
level
controls
for
the
microphone
inputs
on
the
one
hand
and
for
all
other
inputs
on
the
other.
Thus,
you
may
for
example
record
gra-
mophone
records
and
announce
them
yourself
via
the
microphone.
In
the
case
of
mixed
recordings,
the
recording
level
meters
indicate
the
sum
of
both
levels.
The
mixing
ratio
can
be
adjusted
and
checked
by
monitoring
during
recording.
It
is
advisable
to
use
a
headset
for
this,
in
order
to
avoid
‘howling’.
Multiplay
(sound-on-sound)
When
multiplaying,
you
can
combine
several
mono
recordings
with
each
other.
These
recordings
are
synchronised:
they
keep
good
time
with
each
other,
so
that
it
is
possible
for
example
to
record
a
8
quartet
in
which
every
part
is
played
all
by
yourself,
First
you
make
a
normal
recording
on
track
1.
After
rewinding
the
tape
to
the
start,
you
can
make
your
second
recording
on
track
3,
while
adding,
simulta-
neously,
the
first
recording
from
track
1
to
track
3.
While
making
the
second
recording,
you
can
listen
to
the
first
one
via
a
headset,
so
the
second
recording
is
exactly
synchronised
with
the
first.
Track
3
contains
also
the
first
and
second
record-
ing.
After
rewinding,
you
make
your
third
recording
on
track
1,
while
adding
simultaneously
the
first
and
second
recording
from
track
3
to
track
1.
While
making
the
third
recording
you
can
listen
to
the
first
and
second
recording
via
a
headset.
Track
1
contains
now
the
first,
second
plus
third
re-
cording.
If
desired
you
may
proceed
with
a
fourth
and
a
fifth
recording,
but
you
should
take
into
account
the
so-called
’transfer
loss’,
i.e.
the
deterioration
of
the
sound
quality
when
repeatedly
copying
a
re-
cording.
To
minimise
this
loss
of
quality
it
is
advisable
to
use
the
highest
tape
speed
and
to
record
the
main
part
(e.g.
melody)
at
the
end.
During
the
first
recording,
multiplay
switch
@
must
be
in
its
lower
position.
During
the
second,
third
etc.
recording
the
multiplay
switch
must
be
in
its
upper
position.
After
use,
always
set
the
multiplay
switch
to
its
lower
position.
During
multiplay
recordings,
set
monitor
selector
to
'B’.
Don't
forget
to
switch
track
selector
@
to
the
other
track
before
starting
your
next
recording.
The
recording
level
of
the
new
recording
is
adjusted
with
either
the
control
and
@
or,
during
microphone
recordings
(in
this
case
pos-
sible
only
via
socket
@),
with
control
@.
The
recording
level
of
the
recording
being
added
is
adjusted
with
control
2.
The
illuminated
recording
level
meter
indicates
the
sum
of
the
recording
levels,
so
it
is
advised
to
adjust
the
recording
level
of
the
new
recording
below
normal,
because
the
multiplay
signal
is
still
to
be
added.
The
mixing
ratio
between
the
new
recording
and
the
recording
being
added
can
be
checked
and
adjusted
by
monitoring
during
recording.
When
the
result
of
a
multiplay
recording
is
not
satisfactory,
this
recording
can
be
repeated,
be-
Cause
the
preceding
recording
is
not
erased,
Playback
takes
place
in
the
normal
way
with
track
selector
@)in
the
position
which
was
used
last.
The
second
last
recording
can,
if
desired,
be
erased.
Echo
With
this
recorder,
echo
recordings
can
be
made,
since
the
recorder
is
equipped
with
separate
heads
for
recording
and
playback,
which
are

mounted
‘in
line
(fig.
6).
When
making
an
echo
recording,
the
signal
just
recorded
on
the
tape
by
the
recording
head
©
is
immediately
reproduced
by
the
playback
head
©).
This
playback
signal
is
then
fed
back
to
the
recording
head
and
recorded
_
together
with
the
original
signal.
The
echo-effect
is
due
to
the
distance
between
the
two
heads
and
depends
on
the
tape
speed
used:
at
the
relatively
low
speed
of
4.75
and
9.5
cm/s,
*slow’
echo
effects
are
obtained
and
at
the
higher
speed
of
19
cm/s
a
‘quick’
echo
effect
(‘reverberation’),
can
be
simu-
lated.
Connect
the
monitor
socket
@
by
means
of
an
additional
stereo
connecting
lead
4822
321
20207
(EL
3768/14)
-
to
the
line
in/out
socket
@
or
the
‘aux’
input
socket
@)
when
recording
from
the
microphone.
In
this
case,
turn
back
a
little
the
monitor
output
level
controls
©
and
@).
The
recording
level
of
the
echo
signal
is
now
adjusted
with
the
controls
6)
and
©.
-
to
the
stereo
microphone
socket
@4)
when
recording
from
another
sound
source.
Set
micro-
phone
sensitivity
switch
@)
to
'-20dB’.
The
recording
level
of
the
echo
signal
is
now
adjusted
with
the
controls
@8
and
@).
You
can
now
make
a
mixed
recording
with
the
original
signal
and
the
echo
signal
provided
by
the
monitor
socket.
During
recording,
monitor
selector
@
must
be
in
position
’A’.
The
recording
level
meters
indicate
the
sum
of
the
recording
levels,
so
it
is
advised
to
adjust
the
recording
level
of
the
original
signal
below
normal,
because
the
echo
signal
is
still
to
be
added.
The
mixing
ratio
between
the
original
signal
and
echo
signal
can
be
heard
through
a
headset.
Maintenance
It
is
advisable
to
remove
at
regular
intervals
the
dust
and
dirt
which
has
collected
on
the
heads,
and
we
advise
you
to
do
this
using
cleaning
tape
811/CT,
which
is
played
through
once
as
an
ordinary
tape.
Doing
this,
bracket
&
(fig.
4)
must
be
in
position
B.
Cleaning
should
carried
after,
say,
every
50
hours
of
operation
or,
on
average,
once
a
month.
The heads may also be cleaned, however, using a
soft
cloth
or
a
cotton
bud.
To
clean
in
this
way
proceed as follows:
e@
Ensure
that
the
recorder
is
disconnected
from
the
mains.
@
Press
in
the
narrow
sides
of
head
cover
@4
and
remove
(fig.
3).
@ Moisten the cloth or cotton bud with a little
alcohol or proprietary cleaning spirit.
@ Now clean the tape tension stabilisers @9, the
pins
®)
(fig.
6),
the
tape
guides
©,
the
fronts
of
erase
head
@,
recording
head
(©)
and
playback
head
©)
the
capstan
@),
the
rubber
pressure
roller
©
and
the
switching
contact
@.
Never
use
any
other
cleaning
agents
and
do
not
touch
the
heads
with
sharp
or
metal
objects.
@
Allow
all
parts
to
dry
before
replacing
the
head
cover
and
reconnecting
the
recorder
to
the
mains.
@
The
drive
mechanism
must
not
be
lubricated!
Storage of tapes
After
use,
return
each
tape
to
its
box,
where
it
is
protected
against
dust.
Store
the
tapes
at
room
temperature,
not
in
the
sun
and
away
from
mag-
netic
fields
created
by
the
recorder,
radio
and
Tv-sets
and
loudspeaker
enclosures.
‘Technical data
(subject to change without notice)
@
Switchable
for
mains
voltages
of
110,
127,
220,
and
240
V.
©
Suitable
without
switching
for
50
and
60
Hz
A.C.
@
Power
consumption:
approx.
35
W.
@
Frequency
range
according
to
DIN
45
500/NAB:
19
cm/s:
35-25,000
Hz/35-26,000
Hz;
9.5 cm/s: 35-19,000 Hz/35-20,000 Hz;
4.75 cm/s: 35-11,000 Hz/35-11,500 Hz.
@
Signal-to-noise
ratio,
without
DNL,
acc.
to
DIN
45
500 and
NAB:
19 cm/s: >60 dB;
9.5 cm/s: >60 dB;
4.75 cm/s: >58 dB.
@ Improvement of the signal-to-noise ratio in the
4,000-14,000 Hz range using the DNL: > 10 dB.
@ Wow and flutter according to DIN 45 500/NAB:
19cm/s: <0.1%/ < 0.05%;
9,5 cm/s: <0.15%/ <0.07%;
4.75 cm/s: <0.3%/ <0.2%.
@
Maximum
speed
deviation
according
to
DIN
45500:
< +1%.
@ Suitable for reels up to 18 cm diameter.
e
Fast
winding
time
for
LP
18
(540m
of
tape):
< 180s.
@ Dimensions:
210 mm deep.
@ Weight: 10.3 kg approx.
e Socket 6, headphones: impedance 400-600 2
(pins 4 and 5).
@ Socket 6, micro | + st: sensitivity in position
’0 dB’: <0.2 mV/2 kQ (pins 1 and 4) or < 100 mV/
1 MQ (pins 3 and 5).
@ Socket 6, micro r: sensitivity in position ’0 dB’:
<0.2 mV/2 kQ (pins 1 and 4).
@ Socket 6, phono: sensitivity in position "X.TAL’:
<0.6 mV/1.5kQ; position MD’: <0.6 mV/40 kQ
(pins 3 and 5), max. attenuation 27 dB approx.
555mm wide, 430mm_ high,

@
Socket
@,
aux:
sensitivity
<2
mV/15
kQ
(pins
1
and
4)
or
<100
mV/1
MQ
(pins
3
and
5),
max.
attenuation
30
dB
approx.
@
Socket
@8,
tuner:
sensitivity
<
100
mV/100
kQ
(pins
3
and
5),
max.
attenuation
30
dB
approx.
@
Socket
@,
line
in/out:
sensitivity
<2
mV/20
kQ
(pins
1
and
4)
or
<100
mV/1
MQ
(pins
3
and
5),
max.
attenuation
30
dB
approx.;
adjustable
output
level
0-1
V,
Z,
>50kQ
(pins
3
and
5,
no
output
signal
during
recording).
@
Socket
@,
MFB:
output
level
1
V/750
Q
(pins
3
and
5).
@
Socket
@,
monitor:
adjustable
output
level
0-1
V,
Z,
>50
kQ
(pins
3
and
5,
output
signal
both
during
recording
and
playback).
@
Socket
@,
remote
control
(pins
1
and
5).
Available accessories
(subject to change without notice)
@
LP
13-15-18,
High
Output
HiFi
longplay
tape
on
reels
of
13,
15
and
18
cm
diameter.
@
DP
13-15-18,
High
Output
HiFi
doubleplay
tape
on
reels
of
13,
15
and
18
cm
diameter.
@
ER
13-15-18
ML,
empty
reels
of
13,
15
and
18
cm
diameter.
@
4822
466
80664,
one
conductive
plate
for
use
with
metal
reels.
@
811/CT,
cleaning
tape,
for
Cleaning
the
heads
and
tape
guides.
(Not
available
in
Great
Britain.)
@
MFB-loudspeaker
enclosures;
details
of
the
range
of
appropriate
MFB-loudspeaker
enclosures
are
available
from
your
dealer.
@
N
8214
and
N
8308,
omnidirectional
electret
HiFi
microphones.
@
N
8500,
cardioid
electret
HiFi
microphone.
@
N
8403,
electret
HiFi
stereo
microphone.
@
4822
321
20211
(N
6206),
connection/extension
lead,
length
5m,
for
recording
with
two
micro-
phones
and/or
for
extension
of
the
microphone
lead.
@
N6708,
telephone
coil,
for
the
recording
of
telephone
calls.
N.B.
The
recording
of
telephone
calls
is
prohibited
in
certain
countries.
(Not
avail-
able
in
Great
Britain.)
@
4822
321
20207
(EL
3768/14),
stereo
connect-
ing
lead,
with
5-pole,
180°
DIN
plug
at
both
ends.
@
N
6325,
electret
HiFi
stereo
headset.
@
N
6330,
HiFi
stereo
headset
with
twelve
extra
diaphragms.
@
N6718,
remote
control
unit
for
starting
and
stopping
the
tape,
for
use
as
hand-
or
footswitch,
with
switchable
locking
system.
@
SK
10,
splicing
kit,
for
use
when
editing
re-
cordings.
10